MuMaGi : ar/t/khitecture and musound

Music

What are some of the architectural and urban consequences of mixed reality? Dialing down the world, replacing architectural renderings, meeting Lil Miquela around the corner? In a new episode of “Strelka Talks” director and The New Normal core faculty member Liam Young speculates on the city of the future.

The Strelka Institute promotes positive changes and creates new ideas and values through its educational activities. Strelka provides brand new learning opportunities, while the City remains at the centre of the Institute’s research programme.

Programs written in the language include one for fortune-telling from the I Ching

Newark-born multi-instrumentalist and composer Tyshawn Sorey (b. 1980) is celebrated for his incomparable virtuosity, effortless mastery and memorization of highly complex scores, and an extraordinary ability to blend composition and improvisation in his work. He has performed nationally and internationally with his own ensembles, as well as artists such as John Zorn, Vijay Iyer, Roscoe Mitchell, Muhal Richard Abrams, Wadada Leo Smith, Marilyn Crispell, George Lewis, Claire Chase, Steve Coleman, Steve Lehman, Robyn Schulkowsky, Evan Parker, Anthony Braxton, and Myra Melford, among many others.

Dr. Francesca Ferrando is a professional philosopher and an international lecturer, actively involved in the posthuman scene as a thinker and organizer.

The Manufacturers of the Impossible For the past 10 years, Nelly Ben Hayoun (NBH) Studios has designed experiences for you to become an astronaut in your living room while dark energy is being created in your kitchen sink and a volcano erupts on your couch. We are an interdisciplinary ‘Willy Wonka’ design studios which devise subversive meaningful events and experiences. We work and research through film, design, music, semiotics, politics, digital and scientific practices. Pioneers in the design of experiences, our mission is to reveal meanings and power structures through experiential practices and to foster critical thinking within institutions across the world. We have consulted and worked with leading scientists, creatives, writers, brands, politicians, policy makers, musicians and engineers worldwide and we have a track record of having successfully challenged public engagement mechanics through theatrical, experiential and design practices.

Sanford Kwinter is a Canadian architectural theorist, writer, and editor. He is a professor of architecture at The European Graduate School / EGS, at The School of Architecture at Pratt Institute, New York, and at the University of Applied Arts in Vienna, where he heads the Institute for Theory and History of Architecture.Sanford Kwinter is a Canadian architectural theorist, writer, and editor. He is a professor of architecture at The European Graduate School / EGS, at The School of Architecture at Pratt Institute, New York, and at the University of Applied Arts in Vienna, where he heads the Institute for Theory and History of Architecture. 'Radical Anamnesis One of the knowledge activisms that I have adopted I like to call "radical anamnesis." Radical anamnesis represents a deliberate (and difficult) performance of actively remembering what contemporary history has committed to forget, that is, of what never happened, but once could have. It means seeing our (human) past as a great reservoir of affects: "a pageantry in which a million spores lie, each representing a pathway once primed but not taken, along which human consciousness might today still travel, and free itself from the narrow trajectory on which it is otherwise embarked today." This commitment is not heroic as was the case of many past forms, but it is not as innocent either. While I personally remain highly committed to exploring and cultivating archaic modalities and intensities (i.e. remaining sensitive to the untapped revolutionary possibilities that remain enfolded within past worlds and objects), I would claim that on a broader scale such activities share the basic hope of all commitment in this age of spurious (ironic) detachment: it permits us to step outside of, and thus to better see and judge, the mediocrity of our present aspirations.'

Scott Brewer joined the Harvard Law School faculty full-time in 1991, having been a lecturer in 1988. He holds a Ph.D. in Philosophy from Harvard University (1997) and a J.D. from Yale Law School (1988), where he was the Editor-in-Chief for Volume 97 of the Yale Law Journal. He was a law clerk for Judge Harry T. Edwards of the United States D.C. Circuit Court of Appeals (1989-90) and then for Justice Thurgood Marshall on the United States Supreme Court (October Term 1990). He teaches the basic courses on contracts and evidence as well as a variety of courses in jurisprudence and philosophy of law. In 2011 he co-founded and continues to co-administer (with Professor Giovanni Sartor of the European University Institute) the annual Summer School on Law and Logic. He is also the founder and administrator of the Logocratic Academy, a forum that promotes the development, theoretical study and practical application of the Logocratic Method. The Logocratic Academy has both an online presence (at LogocraticAcademy.org) and a physical presence in a variety of courses, lectures, and workshops given by Professor Brewer. Professor Brewer writes and teaches about the nature and uses of arguments (including but not limited to legal arguments), the role of arguments in law (and specifically, contract law and the law of evidence), politics, and "everyday life." He also teaches and writes about the central question of what constitutes a fulfilled life, as for example, in the course The Fulfilled Life and the Life of the Law, taught at Harvard Law School and in universities in Europe and Asia.

Martina Koppelstetter wurde in Süddeutschland geboren. Nach ihrer Gesangsausbildung an der Musikhochschule München nahm sie Engagements an verschiedenen Opernhäusern an, widmete sich aber auch gleichermaßen dem Konzert- und Liedgesang. Die Altistin arbeitete mit Dirigenten wie Enoch zu Guttenberg, Helmuth Rilling, Armin Jordan, Alicja Mounk, Paul Goodwin und Constantinos Carydis und war Gast u.a. beim Rheingau-Musikfestival, den Internationalen Festwochen in Stuttgart, dem Osterklang Wien und dem International Festival of Music in Bath/England.

Yanyun Chen (b. 1986, Singapore) is a visual artist. She lectures in the humanities department of Yale-NUS College and in the animation department of the School of Art, Design and Media, Nanyang Technological University, Singapore. She is the founder of illustration and animation studio Piplatchka, and the managing partner of Delere Press.

Mathis Nitschke is a conceptual artist, composer, sound designer and performer, specialising in music and sound combined with theatre, media and new technologies.

Based in Hackney East London, we are architects that look to be inventive and help improve peoples lives through our projects. We rescue space to make places. We imagine new buildings where there are voids. We recycle bits of leftover architecture. We think design should be fun, ambitious and empathetic. We respect the ideas of others and we like to listen. The studio has success across a range of projects; from private homes, workplaces, mixed use developments, to interiors and the public realm. We also run ombra, a venetian bar/restaurant a few doors down from our attic-like office space, which functions both as our less formal ‘2nd meeting room’ and a place where we host events as a public facing extension of the practice.

Jennifer Sigler is Editor in Chief of Publications and Harvard Design Magazine at the Harvard Graduate School of Design (GSD). Prior to joining the GSD, she lived in the Netherlands, where she worked as an editor, researcher, curator, and project manager in and around architecture and design. From 1990 to 1995 she collaborated with Rem Koolhaas and Bruce Mau on S,M,L,XL (The Monacelli Press). Later, she joined the Berlage Institute, an international postgraduate “laboratory” for architecture, where she started the publication Hunch, overseeing and producing its first six issues.

Extra Office engages developments in contemporary culture, aesthetics, and media to uncover new channels for critical practice. CRITICS ARE SAYING: "The worst teaching assistant I have ever had" - Jefffrey Kinpin "I don't understand half of what he says" - David Ruey "I often have to reschedule our meetings" - Marcelin Gow "At the very least he could dress better" - Vinny Sansallone "I like him, for now" - Michel Ossman "Often late and disheveled" - Todd Gannen "Complete noob around the office..." - Marco Ciccarelli "In a word... sponge-like?" - Aaron Betskey

I am a highly sensitive and emotional person, so I strive, sometimes with success, to experience and explore life constantly from a neutral position. We are buffeted by the complexities of politics, religion, race and sexuality, 24 hours a day. I believe the process of writing, of any Art, is to reflect and to enthuse freshness in life, even when the banal and the mistakes of the past rear their heads, whether it be bingeing or starting a war. There has to be faith that there are always fresh ways to approach Life. I use Music as a salve and a rejuvenator. I use words to connect and rationalize the indefinable. Ultimately, I write to remain human and if people relate to this and are encouraged to be moved, to have shifts in the paradigms of their conscious and subconscious centres, in what ever way that may be, then I am doing my job as an Artist.

When one reflects on the innovators who were fundamental in propelling the second wave of the new music movement in the 1960s, Bill Dixon's name always appears near the top of the list. His accomplishments as a musician and educator are vast, a small sampling of which includes his work as architect of the Jazz Composers' Guild in 1964; the formation of the Black Music Division at Bennington College, Visiting Professor in the School of Music at the University of Wisconsin, and Distinguished Visitor in the Arts at Middlebury College; his election as a Fellow to the Vermont Academy of Arts and Sciences; and his ongoing and challenging performance schedule that most recently saw him reunited with pianist Cecil Taylor and drummer Tony Oxley. Bill Dixon has released about 20 recordings over the years featuring his work as a composer, solo performer, small group leader, and orchestral director. He has a trumpet/flugelhorn/cornet sound that is immediately identifiable by the cognoscenti as uniquely his. Bill Dixon continues to influence younger musicians and to produce exhilarating music in this, his 54th year as a professional musician.

Naked House is a not-for-profit housing developer. We build genuinely affordable homes for people on modest incomes. Our multi-award winning approach strips back design to the bare essentials, creating homes that are yours to make. WHY Established by four young Londoners in 2013, we couldn’t afford to buy and were uninspired by increasingly expensive shared ownership flats where many purchasers strip out the fixtures and fittings they didn’t want in the first place. We wanted to be a part of solving our own housing crisis by contributing to our homes. We quickly realised we had a model that could help thousands of people like us. This is by generation rent for generation rent.

The University of the Underground was founded in February 2017, as a charity with a ANBI status (RSIN 8575.82.781) . We are a free, pluralistic and transnational university based in the basement of nightclubs- with headquarters in Amsterdam and London- and actively working with both institutions and nightlife. As a charity, we hope to bring generations together to democratise access to public institutions and trigger changes and critical reflections through the use of creative and experiential practices. With an explicit focus on political theory, design of experiences, music, theatrical practices, film, social actions and social dreaming; our university aims to provide toolkits for members of the public and students to actively participate in revealing power structures in institutions. The University of the Underground supports unconventional research, countercultures and practices that apprehend and challenge the formulation of culture, the manufacture and commodities of knowledge. The University of the Underground believes in a transnational form of education which exist beyond national borders. As a result we are also developing educative programmes in the USA, starting this summer 2019, in collaboration with the Hannah Arendt Center of Bard College and the United Nations, but also soon in North Africa, Greece and beyond.

OMMX build, draw and write about architecture. We believe that architecture gives form to our collective desire to understand and express who we all are. It can construct intimate portraits of different communities, from individuals and families, to companies, landscapes, cities and nations. OMMX is committed to this biographical process, to creating spaces that we can relate to and that help us relate to one another.

Tatiana Bilbao was born August 2, 1972 in Mexico City, Mexico in a family of architects. She studied architecture at the Universidad Iberoamericana where she obtained her Bachelor of Architecture and Urbanism degree in 1998 with honorable mention and was awarded the best architecture thesis of the year. She worked as an advisor for Urban Projects at the Urban Housing and Development Department of Mexico City in 1998-99, and in 2004 founded Tatiana Bilbao Estudio with projects in China, Europe and Mexico.

Music and Sounds compositions and productions of Mumagi

Architecture practice specialising in materiality

Founded in 2009 Practice Architecture is a London based firm experienced in delivering celebrated cultural, community and residential projects. The practice is known for creating extraordinary structures with a strong sense of place. Often involved from inception through to completion they work in a very hands on way, curating both space and the activity it contains.

If given the choice between staring blankly into space or reading architects’ office statements on their website, we choose the first. They all say the same thing: we’re sustainable, responsible with budgets, experienced, award-winning, etc. . . . The game seems to be how to say nothing in particular and comfort any worries of someone contemplating hiring you. After a few clicks, it’s hard not to think that all this quote-unquote professionalism is very cold at its core. We can’t tell you exactly when MOS started. We like to say it was 2003, sometimes we say 2005, but we were drifting from place to place, we didn’t have an office space then and our name was !@#?, which we quickly found was too difficult to use because 1. you couldn’t pronounce it and 2. you couldn’t get a Web address. In 2008, we were licensed and became a legal entity, but we had already had an office and made some buildings. At some point, we drifted towards MOS—an acronym of our names and reflection of a shared desire to be horizontal and fuzzy, as opposed to tall and shiny. We began around an oversized table, a surface for collecting, gathering, and working through a range of design experiments—a make-believe of architectural fantasies, problems, and thoughts. We are now located in New York, we have grown a little, but remain around a large table, working together on each project through playful experimentation and serious research. We have won some awards. We have written some books. We have built some buildings. We are currently making more. This website indexes that work: housing; schools; houses; cultural institutions; retail; exhibition design; installations; furniture; objects; books; writing; software experiments; and videos.

Mission: The goal of Archinect is to make architecture more connected and open-minded, and bring together designers from around the world to introduce new ideas from all disciplines. Background: Archinect was initially developed in 1997 by Paul Petrunia. The site has since become a top online destination for progressive-design oriented students, architects, educators, and fans. The Team: Archinect's direction is driven by the staff and contributors, as pictured below. Archinect's member-based community system allows anyone to participate by registering and contributing. Please contact us if you would like to contribute. We're always open to new perspectives.

Liss C. Werner is an architect, founder of ‘Tactile Architecture–office für Systemarchitektur’, Assistant Professor, TU Berlin, computational architecture and cybernetics, acted as guest Professor at Carnegie Mellon University and Taylor’s University Malaysia, and lectured internationally at e.g, MIT, USC, Bauhaus University Weimar, Cooper Union, TU Darmstadt. She co-chaired conferences on architecture and ecology, participated at the Venice Biennale, is honorary editor of ‘Kybernetes’, edited ‘[En]Coding Architecture’ and ‘Cybernetics: state of the art’, her papers include ‘Origins of Design Cybernetics’ and ‘Feedback Cybernetics Netgraft’. She received the German Enterprise Award ‘Best for Modern Urban Architecture & Design 2017’. Werner is the conference chair of eCAADe2020 in Berlin.

The Practice Research Portal is a research and educational resource set up to support Practice Research across RMIT and in other Universities, nationally and internationally. The site has been developed by the School of Architecture and Urban Design at RMIT University, and builds on the PhD program developed in that School over three decades. This portal offers an ever growing video archive, a research strategies course, key publications and PRS event information. A series of significant research projects and an extensive network of partners have informed and supported the development of Practice Research as documented and described by this portal.

Pi Recordings is a jazz record label founded by Seth Rosner in 2001. He was joined as partner by Yulun Wang in 2002. Pi specializes in avant-garde jazz. Its first albums were by Henry Threadgill. Pi's roster includes Amir ElSaffar, Anthony Braxton, Corey Wilkes, James Blood Ulmer, Leroy Jenkins, Liberty Ellman, Marc Ribot, Muhal Richard Abrams, Roscoe Mitchell, Rudresh Mahanthappa, Steve Lehman, Art Ensemble of Chicago, Steve Coleman, Vijay Iyer, and Wadada Leo Smith.[1]

There is no term more ubiquitous, obnoxious, and self-serving in our current lexicon as “woke.” Woke is safety-pin politics, masturbatory symbolism, and virtue signaling of a deflated Left insulated by algorithms, filter bubbles, and browser extensions that replace pictures of Donald Trump with Pinterest recipes. Woke is a misnomer — it’s actually asleep and myopic. Woke is a safe space for the easily distracted and defensive pop culture inbred. Woke is the Left curled up in a fetal ball scribbling think pieces about Broad City while its rights get trampled by ascendant fascism, domestically and globally.

One of The New Centre for Research & Practice’s central mandates has been to provide new possibilities for our members and students, especially those who practice their work outside or in-between existing institutional frameworks in the Arts, Humanities, & Sciences. We help those transitioning between one degree and another, or between one institution and another, to expand their research networks beyond what can be offered by any single institution. Our members and certificate students enjoy access to face-to-face, real-time engagements with emerging thinkers and scholars, collaborating with them and with each other while producing new forms of knowledge.